The construction of a work is the location of its parts. Building a work of art

Today we are talking on the topic: "Traditional elements of composition." But first, you should remember what "composition" is. For the first time we meet with this term in school. But everything flows, everything changes, gradually even the strongest knowledge is erased. Therefore, we read, stir up the old, and fill in the missing gaps.

Composition in literature

What is composition? First of all, we turn to explanatory dictionary and we learn that in a literal translation from Latin this term means "composition, composition." Needless to say, without "composition", that is, without "composition", no piece of art is possible (examples follow) and no text as a whole. Hence it follows that composition in literature is a certain order of arrangement of parts artwork... In addition, these are certain forms and methods artistic image that are directly related to the content of the text.

The main elements of the composition

When we open a book, the first thing we hope for and what we look forward to is a beautiful, entertaining story that will surprise or keep us in suspense, and then not let go for a long time, forcing us to mentally return to what we read again and again. In this sense, a writer is a real artist who first of all shows, not tells. He avoids direct text like: "And now I will tell." On the contrary, his presence is invisible, unobtrusive. But what do you need to know and be able to do for such skill?

Compositional elements - this is the palette in which the artist is a master of the word, mixes his colors in order to create a bright, colorful plot in the future. These include: monologue, dialogue, description, narration, system of images, author's digression, inserted genres, plot, plot. Further - about each of them in more detail.

Monologue speech

Depending on how many people or characters in a work of art participate in speech - one, two or more - monologue, dialogue and polylogue are distinguished. The latter is a kind of dialogue, so we will not dwell on it. Let's consider only the first two.

A monologue is an element of composition, which consists in the use by the author of the speech of one character, which does not suggest an answer or does not receive it. As a rule, it is addressed to listeners in dramatic work or to yourself.

Depending on the function, such types of monologue are distinguished in the text as: technical - description of the events that have occurred or are currently taking place by the hero; lyric - the transfer by the hero of his strong emotional experiences; acceptance monologue - the inner reflections of a character who is faced with a difficult choice.

The following types are distinguished according to the form: author's word - an appeal of the author to the readers, most often through this or that character; stream of consciousness - the free flow of the hero's thoughts as they are, without obvious logic and not adhering to the rules of literary construction of speech; dialectics of reasoning - the presentation by the hero of all the pros and cons; dialogue in loneliness - a mental appeal of the character to another character; apart - in drama, a few words aside, which characterize the real state of the hero; stanzas - also in drama lyrical reflections character.

Dialogue speech

Dialogue is another element of composition, a conversation between two or more actors... Usually dialogical speech is ideal remedy transmission of the collision of two opposing points of view. She also helps to create an image, reveal personality, character.

Here I would like to say about the so-called dialogue of questions, which involves a conversation consisting exclusively of questions, and the response of one of the characters is both a question and an answer to the previous remark at the same time. (examples follow) Khanmagomedov Aydin Asadullaevich "Goryanka" is a vivid confirmation of this.

Description

What is a man? This is a special character, and individuality, and unique. appearance, and the environment in which he was born, raised and exists in this moment life, and his house, and the things with which he surrounds himself, and people, far and near, and the nature around him ... The list can be continued indefinitely. Therefore, creating an image in a literary work, the writer must look at his hero from all possible angles and describe, without missing a single detail, even more - create new "shades" that cannot even be imagined. In the literature, the following types of artistic descriptions are distinguished: portrait, interior, landscape.

Portrait

It is one of the most important compositional elements in literature. He describes not only the appearance of the hero, but also his inner world - the so-called psychological picture... The variety and place of a portrait in a work of art. A book can begin with it, or, conversely, end with it (A. P. Chekhov, "Ionych"). maybe immediately after the character has done something (Lermontov, "A Hero of Our Time"). In addition, the author can draw a character in one fell swoop, monolithic (Raskolnikov in Crime and Punishment, Prince Andrei in War and Peace), and sometimes scatter features over the text (War and Peace, Natasha Rostova). Basically, the writer himself takes up the brush, but sometimes he gives this right to one of the characters, for example, Maxim Maksimych in the novel "A Hero of Our Time", so that he describes Pechorin as accurately as possible. The portrait can be painted ironically, satirically (Napoleon in War and Peace) and “ceremonially”. Sometimes only the face, a certain detail, or the entire body - a figure, manners, gestures, clothes (Oblomov) - gets under the author's "magnifying glass".

Interior description

The interior is an element of the composition of the novel, allowing the author to create a description of the hero's dwelling. It is no less valuable than a portrait, since the description of the type of room, setting, atmosphere prevailing in the house - all this plays an invaluable role in conveying the characteristics of the character, in understanding the full depth of the created image. The interior reveals both a close connection with which is the part through which the whole is cognized, and the single through which the multiple is seen. So, for example, Dostoevsky in the novel "The Idiot" in the gloomy house of Rogozhin "hung" Holbein's painting "The Dead Christ" in order to once again draw attention to the irreconcilable struggle true faith with passions, with unbelief in Rogozhin's soul.

Landscape - a description of nature

As Fyodor Tyutchev wrote, nature is not what we imagine, it is not soulless. On the contrary, there is much hidden in it: soul, freedom, love, and language. The same can be said for a landscape in a literary work. With the help of such an element of composition as a landscape, the author depicts not only nature, locality, city, architecture, but thereby also reveals the state of the character, and opposes the naturalness of nature to conventional human beliefs, acts as a kind of symbol.

Remember the description of the oak tree during Prince Andrey's trip to the Rostovs' house in the novel War and Peace. What was he (the oak) at the very beginning of the journey - an old, gloomy, "contemptuous freak" among birches smiling at the world and spring. But at the second meeting, he unexpectedly blossomed, renewed, despite the hundred-year-old tough bark. He still obeyed spring and life. The oak tree in this episode is not the only landscape, a description of the reviving nature after a long winter, but also a symbol of the changes that have taken place in the prince's soul, a new stage in his life, which has managed to "break" the already almost rooted desire to be an outcast of life until the end of his days ...

Narration

Unlike the description, which is static, nothing happens in it, nothing changes and in general it answers the question "what?" ? ". Figuratively speaking, the narrative as an element of the composition of a work of art can be presented in the form of a slide show - a quick change of pictures illustrating a plot.

Image system

As each person has his own network of lines on the pads of his fingers, forming a unique pattern, so each work has its own unique system of images. This can include the image of the author, if there is one, the image of the narrator, the main characters, heroes-antipodes, minor characters, and so on. Their relationship is built depending on the ideas and goals of the author.

Copyright digression

Or a lyrical digression is the so-called off-plot element of the composition, with the help of which the author's personality seems to break into the plot, thereby interrupting the direct course of the plot narration. What is it for? First of all, to establish a special emotional contact between the author and the reader. Here the writer no longer acts as a storyteller, but opens his soul, raises deeply personal questions, discusses moral, aesthetic, philosophical themes, shares memories from own life... Thus, the reader is able to catch his breath in front of the stream of the following events, stop and delve deeper into the idea of ​​the work, reflect on the questions posed to him.

Plug-in genres

This is another important compositional element, which is not only a necessary part of the plot, but also serves a more voluminous, deeper disclosure of the hero's personality, helps to understand the reason for this or that life choice, his inner world and so on. Any genre of literature can be plug-in. For example, stories are the so-called story in a story (the novel "A Hero of Our Time"), poems, stories, poems, songs, fables, letters, parables, diaries, sayings, proverbs and many others. They can be like own composition, and someone else's.

Plot and plot

These two concepts are often either confused with each other, or mistakenly believed that they are one and the same. But they should be distinguished. The plot is, one might say, the skeleton, the basis of the book, in which all the parts are interconnected and follow one after the other in the order that is necessary for the full realization of the author's intention, the disclosure of the idea. In other words, the events in the plot can take place at different time periods. The plot is that basis, but in a more concise form, and plus - the sequence of events in their strictly chronological order. For example, birth, maturity, old age, death - this is a plot, then the plot is maturity, memories from childhood, adolescence, youth, lyrical digressions, old age and death.

Subject composition

The plot, just like the very literary work, there are stages of development. In the center of any plot there is always a conflict around which the main events develop.

The book begins with an exposition or a prologue, that is, with an "explanation", a description of the situation, the starting point from which it all began. What follows is the plot, one might say, the foresight of future events. At this stage, the reader begins to realize that a future conflict is just around the corner. As a rule, it is in this part that the main characters meet, who are destined to go through the coming trials together, side by side.

We continue to list the elements plot composition... The next stage is the development of the action. This is usually the heaviest piece of text. Here the reader already becomes an invisible participant in the events, he is familiar with everyone, he feels what is the essence of what is happening, but is still intrigued. Gradually, the centrifugal force sucks him in, slowly, unexpectedly for himself, he finds himself in the very center of the whirlpool. The climax comes - the very peak, when a real storm of feelings and a sea of ​​emotions falls on both the main characters and the reader himself. And then, when it is already clear that the worst is over and you can breathe, the denouement quietly knocks on the door. She chews everything, explains every detail, puts all things on the shelves - each in its place, and the tension slowly subsides. The epilogue sums up the final line and briefly outlines further life main and secondary characters. However, not all plots have the same structure. The traditional elements of a fairytale composition are completely different.

Fairy tale

A fairy tale is a lie, but there is a hint in it. Which? The elements of the composition of the tale are fundamentally different from their "brothers", although when reading, light and relaxed, you do not notice this. This is the talent of a writer or even a whole nation. As Alexander Sergeevich instructed, reading fairy tales is simply necessary, especially common folk, because they contain all the properties of the Russian language.

So, what are they - the traditional elements of a fairy-tale composition? The first words are a saying that sets you in a fabulous mood and promises a lot of miracles. For example: “This fairy tale will tell from the morning itself until lunchtime, having eaten soft bread ...” When the listeners relax, sit down more comfortably and are ready to listen further, it’s time for the beginning - the beginning. The main characters, the place and time of the action are presented, and one more line is drawn, dividing the world into two parts - the real and the magical.

Next comes the fairy tale itself, in which repetitions are often found to enhance the impression and gradually approach the denouement. In addition, poems, songs, onomatopoeia of animals, dialogues are also integral elements of the composition of a fairy tale. The fairy tale also has its own ending, which seems to sum up all the miracles, but at the same time hints at infinity magical world: "They live, live and make good."

Literature and Library Science

The structure of a literary work is a certain structure of a work of verbal art, its internal and external organization, a way of connecting its constituent elements. The presence of a certain structure ensures the integrity of the work, its ability to embody and convey the content expressed in it. Basically, the structure of a work of art is as follows: The idea is the main idea works in which the attitude of the writer to the depicted phenomena is expressed.

The structure of a work of art.

A work of art is an object that has an aestheticvalue, material product artistic creation, conscious human activity.

A work of art is a complexly organized whole. It is necessary to know its internal structure, that is, to highlight its individual components.

Structure of a literary product niya is a kind ofthe triening of a work of verbal art, its internal and external organization, a way of connecting its constituent elements. The presence of a certain structure ensures the integrity of the work, its ability to embody and convey the content expressed in it. That is, it is very important in the work.

Basically, the structure of a work of art is as follows:

Idea - this is the main idea of ​​the work, which expresses the attitude of the writer to the depicted phenomena.General, emotional, figurative thought underlying a work of art. Why is this work written.

Plot Is a set of events and relations between the characters of the work, developing in the work in time and space. Simply put, this is what the work is about.

Composition – internal organization a work of art, the construction of episodes, main parts, a system of events and images of characters.

The composition has its main components:

Exposition - information about the life of the characters before the development of events. This is an image of the circumstances that make up the background of the action.

Stitch - an event that exacerbates or creates contradictions leading to conflict.

Action development- this is the identification of relationships and contradictions between the characters, further deepening of the conflict.

Climax - the moment of maximum tension of action, aggravation of the conflict to the limit. In the climax, the goals and characters of the heroes are best manifested.

Interchange - the part in which the conflict comes to its logical resolution.

Epilogue - the image of events after a certain period of time after the decoupling.

Conclusion - the part that completes the work, providing additional information about the heroes of the work, painting a landscape.

In a normal reading of the work, this structure is not traced, and we do not notice any sequence, but with a detailed analysis of the text, it can be easily identified.

Thus, we can say that you cannot write a work and interest the reader in it without a certain structure. Although we do not notice any structure while reading it, nevertheless it plays a very important, if not one of the most important, roles in writing a work of fiction.

Composition (from Lat. Compositio - composition, composition), 1) the construction of a work of art, due to its content, nature and purpose and largely determines its perception. K. is the most important organizing component ... ...

Drama of a television work- - the construction of a film, program, program, which corresponds to the four-part division of the described action, regardless of the nature of the television work (documentary, fiction), as well as regardless of its timing. Dramatic art ... ...

Construction (from Lat. Constructio composition, construction), 1) structure, device, construction, construction. 2) In technology, a diagram of the device and operation of a machine, structure or unit, as well as the machines themselves, structures, units and their parts. K. provides ... ... Great Soviet Encyclopedia

Construction of a work of art. The term "composition" is often used in the same sense, and when applied not only to the work as a whole (like A.), but also to its individual elements: the composition of the image, plot, stanza, etc. The concept of A ... Literary encyclopedia

1. The concept of style. C. historically conditioned aesthetic unity of content and diverse aspects art form revealing the content of the work. S. arises as a result of the "artistic development" of certain aspects of social ... Literary encyclopedia

I Composition (from Lat. Compositio composition, composition) 1) the construction of a work of art, due to its content, nature and purpose and largely determines its perception. K. is the most important organizing component ... ... Great Soviet Encyclopedia

Composition- - (from Lat. Compositio - composition, composition). 1). A certain structure of a work of art, which is due to its content, nature and purpose, and largely determines the perception. The composition is the most important organizer ... ... encyclopedic Dictionary mass media

Architectonics- ARCHITECTONICS (in literature) general structure works. The concept of architectonics is close to the concept of composition in literature (see "composition"), but the difference between these concepts is easily established in connection with the nature that they ... ... Dictionary literary terms

- (from Lat. compositio composition, composition), 1) the construction of a work of art, due to its content, nature and purpose and largely determines its perception. Composition is the most important organizing component ... ... Art encyclopedia

composition- and, w. 1) (what) The structure of a work of literature and art, the location and relationship of its parts. Composition of the Word about Igor's regiment. Composition of the painting. Synonyms: architect / nick, construction / ning, structure / ra 2) Work (music, painting, etc.) Popular dictionary of the Russian language

- (lat., this. see the previous word). 1) the connection of individual items into one whole. 2) the composition from which the fake gemstones are prepared. 3) musical composition... 4) technical expression for various metal alloys. Dictionary… … Dictionary foreign words Russian language

Books

• Drive (ed. 2014), Aglaida Loy. The novel is dedicated to existential issues a person in the modern world - self-identification, spiritual quest, moral choice... The construction of the piece according to the symphonic principle allows ...

Composition(from Lat. compositio - compilation, composition),

1) the construction of a work of art, due to its content, nature and purpose and largely determines its perception. K. is the most important organizing component of an artistic form, which gives a work of unity and wholeness, subordinating its elements to each other and to the whole. K.'s laws that develop in the process artistic practice, aesthetic knowledge of reality is, to one degree or another, a reflection and generalization of objective laws and interconnections of phenomena the real world... These patterns and relationships appear in an artistically embodied form, and the degree and nature of their implementation and generalization are associated with the type of art, the idea and material of the work, etc.

To. In literature - the organization, arrangement and connection of heterogeneous components of the artistic form of a literary work. K. includes: the arrangement and correlation of characters (K. as a "system of images"), events and actions (K. plot ), inserted stories and lyrical digressions (K. of non-plot elements), ways or perspectives of narration (actually narrative K.), details of the situation, behavior, experiences (K. details).

Methods and methods of K. are very diverse. Comparisons of events, objects, facts, details that are distant from each other in the text of the work sometimes turn out to be artistically significant. The most important aspect of K. is also the sequence in which the components of the depicted are introduced into the text - the temporal organization of a literary work as a process of detection and deployment artistic content... And, finally, K. includes the mutual correlation of different sides (plans, layers, levels) literary form... Along with the term "K." many modern theorists use the word "structure" in the same sense (cf. The structure of a work of art ).

Being "... an endless labyrinth of couplings ..." (see LN Tolstoy, On Literature, 1955, p. 156), K. completes the complex unity and integrity of the work, becoming the crown of the artistic form, which is always meaningful. “Composition is the disciplining force and organizer of a piece. She is instructed to ensure that nothing breaks out of the way, into its own law, namely, it mates into a whole and turns in addition to his thought ... Therefore, she usually accepts neither logical deducibility and subordination, nor a simple life sequence, although it happens to her similar; its goal is to arrange all the pieces so that they are closed in the full expression of the idea "(" Theory of Literature ", [book. 3], 1965, p. 425).

Each piece combines both general, "typical" methods for a given genre, genre or direction of K. (for example, three-fold repetitions in fairy tales, recognition and silence in dramas of "intrigue", a strict stanza form of a sonnet, retardation in epics and dramas), and individual, peculiar to a given writer or a separate work(for example, in Leo Tolstoy's story "Hadji Murad" the leading principle of characters and their systems is polarity, including the deliberately imaginary one: Nicholas I - Shamil).

V modern literary criticism there is also a more local use of the term "K." In this case, a unit, a component of K. is such a "segment" of a work (text), within which one method or aspect of an image is preserved - a dynamic narration or static description, characteristic, dialogue, lyrical digression etc. The simplest units add up to more complex components(complete sketch of a portrait, mental state, reproduction of a conversation, etc.). An even larger and more independent component is the stage (in the epic, drama). In the epic, it can consist of a number of forms of representation (description, narration, monologue); it can include a portrait, landscape, interior; but throughout its entire length, one perspective is preserved, a certain point of view is maintained - the author or the character-participant, or an outside observer-storyteller; otherwise: each scene is "depicted" by someone's eyes. It is the combination of forms of presentation and certain "points of view", their interconnectedness and unity, and constitute K. in this sense.

The poetry of poetry is peculiar, especially lyrical; it is distinguished by strict proportionality and interdependence of metric-rhythmic units ( foot, verse, stanza), syntactic segments and intonations, as well as direct-semantic units (themes, motives, images; see. Poem, Poem, Poetry and Prose ).

In the literature of the 20th century. the activity of the compositional principle increases, which was reflected in the emergence of the concept mounting (first in relation to cinema, then to theater and literature).

In the plastic arts, composition unites particular moments of constructing an artistic form (real or illusory formation of space and volume, symmetry and asymmetry, scale, rhythm and proportions, nuance and contrast, perspective, grouping, color scheme etc.). K. organizes both the internal construction of the work, and its relationship with environment and the viewer.

K. in architecture is based on a harmonious correlation of ideological and artistic principles, functional purpose, design features, and the town-planning role of buildings, structures and their complexes. K. determines the appearance, planning and volumetric-spatial construction of the city as a whole or of an architectural ensemble, a separate building or structure. The principles of K., where they appear in organic unity with the principles of design artistically reflected in them, together form a structural relationship of load and support, architectonics structures. K. in fine arts is a concrete development of the ideological and plot-thematic basis of the work with the distribution of objects and figures in space, the establishment of the ratio of volumes, light and shadow, spots of color, etc. Types of K. are divided into "stable" (where the main compositional axes intersect at right angles in the geometric center of the work) and "dynamic" (where the main compositional axes intersect under acute angle, diagonals, circles and ovals dominate), “open” (where centrifugal multidirectional forces prevail, and the image is fully revealed to the viewer) and “closed” (where centripetal forces win, pulling the image to the center of the work). Stable and closed types of K. predominate, for example, in the art of the Renaissance, dynamic and open - in the art of the Baroque. In the history of art, an important role was played by the addition of generally accepted compositional canons (for example, in ancient Eastern, early medieval art, in art High Renaissance, classicism), and the movement from traditional rigid canonical schemes to free compositional techniques; so, in the art of the 19-20 centuries. a great role was played by the desire of artists for a free K., corresponding to their individual creative features.

About K. in music, that is, about the structure of a musical work, see. Musical form.

2) Musical, pictorial, sculptural or graphic work, final result creative work of a composer or artist.

3) Complex artwork, including different kinds arts (for example, literary and musical K.).

4) Composing music. In musical educational institutions(schools, conservatories) is taught as a special academic subject(in Soviet music educational institutions it is called a composition). The teaching of composition is closely related to the study of such musical-theoretical subjects as harmony, polyphony, instrumentation, analysis musical works.

Lit .: Zhirmunsky VM, Composition of lyric poems, P., 1921; Tomashevsky B., Theory of Literature. Poetics, 6th ed., M. - L., 1931; Alpatov MV, Composition in painting, M. - L., 1940: Theory of literature, [book. 2], M., 1964, p. 433-34, [book. 3], M., 1965, p. 422-42; Lotman Yu.M., Structure artistic text, M., 1970; his, Analysis of the poetic text, L., 1972; B. Uspensky, Poetics of composition, M., 1970; Timofeev L. I., Fundamentals of the theory of literature, M., 1971; Schmarzow A., Kompositionsgesetze in der Kunst des Mittelalters, Bd 1-2, Bonn-Lpz., 1920-22.

V. E. Khalizev, V. S. Turchin.

COMPOSITION OF LITERARY AND ARTISTIC WORKS. TRADITIONAL COMPOSITIONAL TECHNIQUES. DEFAULT / RECOGNITION, "MINUS" - RECEPTION, CO- AND CONTRADICTIONS. MOUNTING.

The composition of a literary work is the mutual correlation and arrangement of units of the depicted and artistic-speech means. The composition realizes the unity and integrity of artistic creations. The foundation of the composition is the orderliness of the fictional reality depicted by the writer.

Elements and levels of composition:

• plot (in the understanding of the formalists - artistically processed events);
• system of characters (their relationship to each other);
• narrative composition (change of narrators and point of view);
• composition of details (correlation of details);
• the ratio of narrative and description elements (portraits, landscapes, interiors, etc.)

Traditional compositional techniques:

• repetitions and variations. They serve to highlight and accentuate the most significant moments and links of the subject-speech fabric of the work. Direct repetitions not only dominated the historically early song lyrics, but also constituted its essence. Variations are altered repetitions (description of the squirrel in Pushkin's "The Tale of Tsar Saltan"). Strengthening the repetition is called gradation (the increasing claims of the old woman in Pushkin's "The Tale of the Fisherman and the Fish"). Repetitions also include anaphores (monotony) and epiphores (repeating endings of stanzas);
• co- and opposition. At the origins of this technique is figurative parallelism developed by Veselovsky. It is based on the conjugation of natural phenomena with human reality ("It creeps and winds / Silk grass in the meadow / Kisses, has mercy / Michael his wife"). For example, Chekhov's plays are based on comparisons of similarities, where the general life drama of the depicted environment prevails, where there are no completely right or completely guilty. Contrasts take place in fairy tales (the hero is a pest), in Griboyedov's Woe from Wit between Chatsky and 25 Fools, etc .;
• “Silence / recognition, minus-trick. The defaults are outside the scope of the detailed image. They make the text more compact, activate the imagination and increase the reader's interest in what is depicted, sometimes intriguing him. In a number of cases, omissions are followed by clarification and direct detection of the hitherto hidden from the reader and / or the hero himself - what is also called recognition by Aristotle. Recognitions can complete a re-created series of events, as, for example, in the tragedy of Sophocles "Oedipus the king." But omissions may not be accompanied by recognitions, remaining gaps in the fabric of the work, artistically significant misunderstandings - minus devices.
• mounting. In literary criticism, montage is the fixation of juxtapositions and contrasts that are not dictated by the logic of the depicted, but directly capture the author's train of thought and associations. A composition with such an active aspect is called editing. Spatio-temporal events and the characters themselves in this case are weakly or illogically connected, but everything depicted as a whole expresses the energy of the author's thought, his association. Editing beginning one way or another exists where there are inserted stories ("The Tale of Captain Kopeikin" in " Dead souls"), Lyrical digressions (" Eugene Onegin "), chronological rearrangements (" A Hero of Our Time "). The editing structure corresponds to the vision of the world, which is versatile and wide.

ROLE AND SIGNIFICANCE OF ARTISTIC DETAILS IN A LITERARY WORK. RELATIONSHIP OF PARTS AS A COMPOSITIONAL RECEPTION.

An artistic detail is an expressive detail in a work that carries a significant semantic, ideological and emotional load. The figurative form of a literary work contains three sides: a system of details of subject depiction, a system of compositional techniques and a speech structure. Artistic detail usually includes subject details - everyday life, landscape, portrait.

Detailing objective world in literature is inevitable, since only with the help of details can the author recreate an object in all its features, evoking the necessary associations in the reader with details. Detailing is not decoration, but the essence of the image. The addition of mentally missing elements by the reader is called concretization (for example, the imagination of a certain human image, an image that is not given by the author with exhaustive certainty).

According to Andrey Borisovich Esin, there are three large groups details:

• plot;
• descriptive;
• psychological.

The predominance of one type or another gives rise to the corresponding dominant property of the style: plot ("Taras and Bulba"), descriptiveness (" Dead Souls"), Psychologism (" Crime and Punishment).

Details can both "agree with each other" and oppose each other, "argue" with each other. Efim Semenovich Dobin proposed a typology of details based on the criterion: singularity / multitude. He defined the ratio of detail and detail as follows: detail tends to singularity, detail acts in a multitude.

Dobin believes that by repeating and acquiring additional meanings, the detail grows into a symbol, and the detail is closer to the sign.

DESCRIPTIVE ELEMENTS OF THE COMPOSITION. PORTRAIT. LANDSCAPE. INTERIOR.

It is customary to refer to the descriptive elements of the composition as a landscape, an interior, a portrait, as well as characteristics of heroes, a story about their repeated, regularly repeated actions, habits (for example, a description of the usual daily routine of heroes in Gogol's "The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich" ). The main criterion for a descriptive element of a composition is its static nature.

Portrait. Character portrait - a description of his appearance: bodily, natural, and in particular age properties(facial features and shapes, hair color), as well as all that in the appearance of a person that is formed social environment, cultural tradition, individual initiative (clothing and jewelry, hairstyle and cosmetics).

For traditional high genres, idealizing portraits are characteristic (for example, the Pole in Taras Bulba). The portraits in works of a comical, comedy-farcical nature had a completely different character, where the center of the portrait is the grotesque (transforming, leading to some ugliness, incongruity) presentation of the human body.

The role of a portrait in a work differs depending on the type and genre of literature. In the drama, the author limits himself to indicating the age and general characteristics given in the directions. In the lyrics, the technique of replacing the description of the exterior with an impression from it is used as much as possible. Such a replacement is often accompanied by the use of the epithets "beautiful", "adorable", "charming", "captivating", "incomparable". Comparisons and metaphors based on the abundance of nature are very actively used here (slender stature - cypress, girl - birch, fearful doe). Gems and metals are used to convey the shine and color of eyes, lips, hair. Comparisons with the sun, moon, gods are characteristic. In the epic, the appearance and behavior of the character are associated with his character. Early epic genres, for example heroic tales, are full of exaggerated examples of character and appearance - ideal courage, extraordinary physical strength... The behavior is also appropriate - the majesty of postures and gestures, the solemnity of unhurried speech.

In creating a portrait up to late XVIII v. the leading trend remained its conventional form, the prevalence of the general over the particular. V literature XIX v. Two main types of portrait can be distinguished: expositional (tending to static) and dynamic (passing into the whole narrative).

The exposition portrait is based on a detailed listing of details of the face, figure, clothing, individual gestures and other features of appearance. It is given on behalf of the narrator, who is interested in the specific appearance of representatives of some social community... A more complex modification of such a portrait is a psychological portrait, where features of appearance prevail, indicating the properties of character and inner peace(not laughing eyes of Pechorin).

A dynamic portrait, instead of a detailed listing of outward features, presupposes a short, expressive detail that arises in the course of the narrative (the images of the heroes in The Queen of Spades).

Landscape. Landscape is best understood as a description of any open space. outside world... Landscape is optional artistic world, which emphasizes the conventionality of the latter, since in the reality that surrounds us, landscapes are everywhere. The landscape carries several essential functions:

• designation of the place and time of action. It is with the help of the landscape that the reader can clearly imagine where and when events take place. At the same time, the landscape is not a dry indication of the space-time parameters of the work, but artistic description using figurative, poetic language;
• plot motivation. Natural, and, in particular, meteorological processes can direct the plot in one direction or another, mainly if this plot is chronicle (with the primacy of events that do not depend on the will of the characters). The landscape also occupies a lot of place in animalistic literature (for example, the works of Bianchi);
• form of psychologism. The landscape creates a psychological mood for the perception of the text, helps to reveal the inner state of the characters (for example, the role of the landscape in the sentimental "Poor Liza");
• form of presence of the author. The author can show his patriotic feelings, giving the landscape a national identity (for example, Yesenin's poetry).

The landscape has its own characteristics in different types of literature. In the drama, he is presented very sparingly. In the lyrics, he is emphatically expressive, often symbolic: personifications, metaphors and other tropes are widely used. In the epic, there are many more possibilities for introducing the landscape.

The literary landscape has a very ramified typology. Distinguish between rural and urban, steppe, marine, forest, mountain, northern and southern, exotic - opposed to flora and fauna native land the author.

Interior. The interior, in contrast to the landscape, is an image of the interior, a description of a closed space. Used mainly for social and psychological characteristics characters, demonstrates their living conditions (Raskolnikov's room).

"NARRATIVE" COMPOSITION. THE NARRATOR, NARRATOR AND THEIR RELATIONSHIP WITH THE AUTHOR. "POINT OF VIEW" AS A CATEGORY OF NARRATIVE COMPOSITION.

The narrator is the one who informs the reader about the events and actions of the characters, fixes the passage of time, depicts the appearance of the characters and the setting of the action, analyzes internal state the hero and the motives of his behavior, characterizes him human type, while not being either a participant in the events, or an object of the image for any of the characters. The narrator is not a person, but a function. Or, as Thomas Mann put it, "the weightless, disembodied and omnipresent spirit of storytelling." But the function of the narrator can be attached to the character, provided that the character as a narrator does not coincide at all with him as with the protagonist. So, for example, the narrator Grinev in “ Captain's daughter"- by no means a definite person, in contrast to Grinev - the actor. Grinev's character's outlook on what is happening is limited by the conditions of place and time, including the characteristics of age and development; much deeper is his point of view as a narrator.

In contrast to the narrator, the narrator is entirely within the depicted reality. If no one sees the narrator inside the depicted world and does not assume the possibility of his existence, then the narrator will certainly enter the horizons of either the narrator or the characters - listeners of the story. The narrator is the subject of the image associated with a certain socio-cultural environment, from the position of which he depicts other characters. The narrator, on the other hand, is close in his outlook to the author-creator.

In a broad sense, narration is a set of those statements of speech subjects (narrator, narrator, image of the author) that perform the functions of "mediation" between the depicted world and the reader - the addressee of the entire work as a single artistic statement.

In narrower and more precise, and also more traditional meaning, narration - a set of all speech fragments of a work containing a variety of messages: about the events and actions of the characters; about the spatial and temporal conditions in which the plot unfolds; about the relationship between the actors and the motives of their behavior, etc.

Despite the popularity of the term "point of view", its definition has raised and raises many questions. Let us consider two approaches to the classification of this concept - by B. A. Uspensky and by B. O. Korman.

Ouspensky speaks of:

• ideological point of view, understanding by it a vision of an object in the light of a certain perception of the world, which is transmitted different ways testifying to his individual and social position;
• the phraseological point of view, understanding by it the use of the author to describe different heroes a different language or, in general, elements of someone else's or substituted speech when describing;
• to the spatio-temporal point of view, meaning by it the place of the narrator, which is fixed and determined in spatio-temporal coordinates, which may coincide with the place of the character;
• point of view in terms of psychology, understanding by it the difference between the two possibilities for the author: to refer to one or another individual perception or to strive to describe events objectively, based on the facts known to him. The first, subjective, possibility, according to Uspensky, is the psychological one.

Korman is closest to Ouspensky regarding a phraseological point of view, but he:

• delimits the spatial (physical) and temporal (position in time) points of view;
• divides the ideological and emotional point of view into direct evaluative (open, lying on the surface of the text, the ratio of the subject of consciousness and the object of consciousness) and indirectly evaluative (the author's assessment, not expressed in words that have obvious evaluative meaning).

The disadvantage of Corman's approach is the absence of a "plan of psychology" in his system.

So, the point of view in a literary work is the position of the observer (narrator, narrator, character) in the depicted world (in time, space, in the socio-ideological and linguistic environment), which, on the one hand, determines his outlook - both in terms of volume ( field of view, degree of awareness, level of understanding), and in terms of assessing the perceived; on the other, it expresses author's assessment of this subject and his horizons.